I’m counting down all the movies released in 2012. The ones I’ve seen, at any rate. In what is unquestionably a timely manner. Hey, I finished before the end of 2013. That’s a moral victory, right?

10. Pitch Perfect

So, full disclosure, I was three or four beers in when I saw this movie with at least one fellow Grouch in a spur of the moment decision. The plot services the movie fine, though it isn’t a particular highlight and, for example, the subplot of Anna Kendrick and Skylar Astin’s romance is undercooked. But holy cow is this movie funny. The casting is spot on, leading to the breakouts of Anna Kendrick and Rebel Wilson, but Anna Camp and Brittany Snow are solid in support, plus who doesn’t love Elizabeth Banks and John Michael Higgins on commentary? I was a little skeptical the world needed another a cappella thing about people trying to make regionals, but much credit to screenwriter Kay Cannon. The film spawned multiple hit soundtracks and a hit single for Anna Kendrick, because of course.

9. Lockout

The film was written and directed by James Mather and Stephen St. Leger, but it has co-writer and producer Luc Besson’s fingerprints all over it. Latter-day Besson movies are extremely consistent: a tough, funny leading man, a clear and economical story, action movie one-liners, a few interesting twists, and a happy ending filled with explosives. This one is no different. Guy Pearce is a good match for Besson, I think, and Maggie Grace has clearly shown her chops. The only thing I’ll say about Besson is that he seemed to be successfully hitting a lot of doubles and triples lately, I wouldn’t mind him aiming for another homer.

8. The Raid: Redemption

The movie that made me like RoboCop less and lose Adam’s respect forever. Though I also saw this one in theaters with him and I’m pretty sure he liked it a bunch as well. The story structure of having all the action take place in one building and having our hero have to essentially clear floors is very compelling for a martial arts movie. The action is confined in the sense the fighting is limited to rooms or hallways, which is a refreshing change of pace, but there are plenty of floors, so there’s lots of different action. Writer/director Gareth Evans does a great job illustrating the fighting, I think, and allowing just enough of a story to seep through. There was one kill, where Iko Uwais jumped backwards and impaled a guy on a doorframe that was just spectacular.

7. The Perks of Being a Wallflower

I had very high expectations for this one going in, to the point where it probably disappointed a little not to fall in my top five. Which isn’t fair, I know. And for the first, I don’t know, two-thirds of the film, I couldn’t figure out what people were talking about. But the last third of the film was absolutely killer. Ezra Miller is the bold highlight of a strong cast. It is shameful the highest-profile awards and nominations he pulled down were Chlotrudis, MTV Movie, and Teen Choice (looking squarely at you, Independent Spirits). Emma Watson was also quite good, adding surprising depth to a character that didn’t have to be so nuanced. That said, if you’ll excuse a brief foray into objectification, Emma Watson in the Rocky Horror getup as part of the live cast during a screening fulfilled fantasies I didn’t realize I had. Anyway, there’s a lot to like from Stephen Chbosky’s effort here, it gets surprisingly dark and poignant and touching. Here’s hoping his next go-round doesn’t take quite so long to get there.

6. Zero Dark Thirty

Talked about this movie a bunch in the Oscar posts, obviously. A very good film and if you wanted to argue it should have won the big one, I wouldn’t put up a fight. The last chunk of the movie, the raid, was absolutely riveting, with Kathryn Bigelow and Mark Boal putting on a masterclass in dramatic tension. The middle part was maybe slightly uneven, a minor quibble that makes the movie very good instead of great. Also, needed more Kyle Chandler and Chris Pratt.

5. Flight

I was pretty thrilled screenwriter John Gatins received an Oscar nomination for his screenplay. And not just because he also co-wrote Summer Catch (with Kevin Falls!) and wrote Hard Ball. This film was taut throughout and a fantastic character study. And of course, much credit to director Robert Zemeckis, especially for the crash scene, and Denzel Washington, who was awesome. But it is easy to forget that the crash scene was written and Washington’s drunk hero originates from the dialogue and scenes in the script.

4. Argo

Wait, does this mean I agree with the Academy? Madness! How this movie managed to win the top prize is a well-covered topic. And you know, I’ll grant the movie isn’t necessarily particularly ambitious or trendsetting, which I imagine is a factor for some when deciding on Oscar. But Ben Affleck and Chris Terrio did a fantastic job crafting a movie that’s incredibly tense throughout. They expertly wove in comic relief as a valve to temper the pressure of the tension, which led to some of the funniest moments on screen this year. The cast was tremendous, but the name actors in nearly every role was maybe a bit off-putting. And again, needed more Kyle Chandler. And pretty much everyone else.

3. Wanderlust

I realize I’m alone here, but that’s fine, I’ll enjoy my wildly underrated Wain/Marino joints as long as they keep pumping them out. Saw this one in theaters and felt like I was doubled over with laughter for most of the time. The writing was hilarious, of course, but David Wain has a way of building fantastic casts comprised of a great combination of regulars (Ken Marino, Paul Rudd, Justin Theroux), really funny people (Key and Peele, Kathryn Hahn), and high profile newcomers (Jennifer Aniston, Alan Alda) who all blend together to make me laugh a lot.

2. 21 Jump Street

Saw this one in theaters and can’t remember ever laughing more. At first glance, this movie sounds like a terrible idea, right? A remake of a TV show people vaguely remembered, starring Jonah Hill and Channing Tatum, written by a guy with a credit on Project X, directed by the guys whose only prior big screen credit was an animated film? But then, you realize that should read “Oscar-nominated Jonah Hill” and that Channing Tatum is crazy talented and that Michael Bacall also co-wrote the excellent Scott Pilgrim Vs. the World, and that Phil Lord and Chris Miller directed Cloudy with a Chance of Meatballs, which was an adaptation way better than it needed to be. At any rate, this film was fantastic, with a stellar supporting cast that runs so deep, a relatively clever story, and a deep understanding of the genre.

1. The Dark Knight Rises

Yup. And I’m one of the few people who like this movie more than the last one. Let’s go through why. I personally find the philosophical musings of the Nolans’s to be a superficial distraction in their films. It felt like they got away from the pseudo-intellectual diversions, at least a little. I’m not necessarily a huge fan of the Bechdel test or complaints about poorly-written women/minority/etc. characters. I’m sympathetic to the cause, but I think it misses the point a little, to me the characters should be written in service of the story, and yes that often means women should be able to talk to each other about things other than boys. But not always. In any case, the women in the first two Batman films were badly-written and generally annoying. The women in this one were almost decently-written and vaguely interesting, which was a significant step up. The cast was probably the best of the trilogy, I mean, it is insane that along with all the regulars, this one added Marion Cotillard, Joseph Gordon-Levitt, Tom Hardy, Anne Hathaway, Matthew Modine, and Juno Temple. Finally, and maybe most importantly, the fight scenes in the film were darn near a revelation. The action was so visceral, nearly primal in nature. They were simply fantastic, and made the film the best of the year.

We’re taking a look at Oscar categories in advance of tomorrow’s show. Today we’re on Original Screenplay. The nominees:

Another Year

The Fighter

Inception

The Kids Are All Right

The King’s Speech

John

This is a really tough category for me. There are three potential winners, each with its own pros and cons. Of course, that makes it easy to discard two. The Kids Are All Right has an interesting premise that it takes in a plot direction that I found not terribly interesting or powerful. I can see why other people reacted strongly to it, but to me it is a mild diversion with promise for much more. And to me The Fighter is painfully straight-forward and much more of an actors’ movie. I don’t know for sure, but the three screenplay and three story by credits screams screenplay by committee and the film sort of feels like it.

This is how you script Inception

But what to do with the other three? There’s Inception, my favorite film of the year. But its success is so much more on the directorial and editing sides, to me. It didn’t get nominated in either of those categories so this could be its shot to be rewarded. I give it high points for having such a great concept and for the imagination required to create the different, interacting dream levels. But it really succeeds in how Nolan visualizes them as a director.

Another Year is a film I liked a great deal more than my colleagues. This is a picture that is very devoted to its theme of the ravages of the passage of time, which it supports beautifully. It does sacrifice plot for its theme, though to my mind that’s not a detriment. A scene that’s slow or subtle can have an impact. But there are several scenes that are both fairly uninteresting from a plot and character perspective AND not particularly good servants to the theme. The late scene featuring the characters of Mary and Ronnie in the greenhouse is an example. Furthermore, it should have been shorter.

I wonder if the way that Mike Leigh composes his movies has something to do with it. He famously relies on actors’ workshops to flesh out characters and plots. And the result is well-developed characters but some meandering scenes. It could use some tightening. The scenes could come together better or more explicitly explore the theme and the less effective ones could have been more direct.

And then there’s The King Speech, a film without a misstep. Every element is solid and it results in an amusing and rousing film. It also doesn’t have anything particularly outstanding. I feel like both Another Year and King’s Speech would have been successful as the same script in a different director’s hands. The same might not be said for Inception. Is that a fair way to judge a screenplay as a separate element? I don’t know.

So what is it? The one I loved for non-script reasons? The one with some really terrific parts and some notable downfalls? Or the one that’s totally solid but didn’t do anything that blew me away? That’s a tough choice. Today I’ll pick Inception, and I’ll be rooting for it on Sunday as it will be the only major category it has a chance in. But my mind may change.

Jared

Original Screenplay is often the category where the Academy will give a token nomination to a smaller, arty movie that is one of my favorite films of the year. It still makes me smile to think that Lars and the Real Girl received a nomination here. Of course, the Academy being the Academy, they also often use this category to recognize a smaller, arty movie that I really dislike. The Messenger last year, for example (over (500) Days of Summer!). Sadly, this year the academy has chosen the latter option and recognized Mike Leigh’s script for Another Year. Which was just not good. Now, I’ll give him credit for creating Lesley Manville’s character (though he obviously must share that with the actress). But in a sense, she’s quite similar to Sally Hawkins’s character in his prior film, Happy-Go-Lucky. Both are characters defined by their one-noteness. They are unique characters, to be sure, but hardly developed. And the rest of the movie, well, maybe someone out there thrills at the mundane details of a happily married older couple. I just call my parents.

If you hate sports movies and get a pretty big kick out of insulting working class folk, then I guess I see how you could appreciate The Fighter. Otherwise, I mean, the script is absolute dreck. If handed to me, I think I would have demanded every scene rewritten. The movie flits through time seemingly randomly, stopping to show unnecessary scenes and leaving out interesting or useful ones. There’s little to no understanding of the relationships of the characters, other than in the broadest strokes possible. The “humor” is even broader and extremely repetitive. And the boxing scenes were scripted by someone who might have played Punch-Out once. To me, the script failed at every conceivable level.

Maybe I’m the weird one, but I tend to prefer comedies to make me laugh, or at least smile a little. Of course, The Kids Are All Right isn’t terribly dramatic, so I guess you couldn’t call it a drama. I’m being a little harsh here, the film does at least bring up a number of interesting ideas. And it does a pretty good job establishing interesting characters. But the film never rose to the occasion. The dialogue is serviceable, but never stands out. The story is fine, but I think it is only a little interesting because of how few movies center on a lesbian couple. And the script is content with leaving things there.

I think the script to The King’s Speech is being underrated by a lot of non-Academy types. I’ll be the first to grant that the story arc and themes aren’t exactly novel to the realm of cinema. But so what? I don’t think a film has to be unique to be successful, it just has to entertain. And this script absolutely is entertaining. It keeps a good pace, has a consistently funny sense of humor, and hits plenty of emotional notes. If every film were like this one, sure, movies would start getting boring. But they aren’t, and the vast majority of movies could only dream of having a script of a quality as high as this one.

One thing that’s important to keep in mind is that a script is so much more than dialogue. All that action, for example, has to be first written down before the director and guys behind all the tech stuff get the chance to work their magic. Which is something you need to keep in mind when thinking about Christopher Nolan’s script for Inception. It is big and bold. It isn’t perfect, but it is wonderful. Cold and unfeeling, with poor character development, sure. But fun as all get out. Without question one of those movies that makes you go, “Wow.” And isn’t that, really, what movies should be about?

Adam

Film Director: a person who directs the actors and crew in the making of a film. They control a film’s artistic and dramatic aspects, while guiding the technical crew and actors. They often develop the vision for a film and carry the vision out, deciding how the film should look.

This is the definition of what a film director’s job is from the source of all knowledge – Wikipedia. I see a director as the story teller. Screen writers write the story, but they are brought to life by the director’s vision. The better the story, the easier it is for the story teller to make the story real/interesting/good. Ultimately, it is the director’s decision how the shots are setup, how the actors act (through endless takes if necessary), and how the final version of the movie works.

I have come to the conclusion, after years of experience, that less than 5% of the Academy has any idea of what a director does or what a good one looks like. One has only to look at the movies nominated this year to see the truth in this. The Academy also has a strong case of envy when it comes to Christopher Nolan. Regardless of how original you think the script is, Inception was easily the best directed movie of the year. Of course, that makes no difference to the Academy as it doesn’t even make the top 5 in their eyes. Let’s take a look at who they thought did better.

Darren Aronofsky, Black Swan

Let me first say that I really liked The Wrestler. I thought Aronofsky did a terrific job of creating a compelling character study of a washed up pro wrestler. Black Swan was less impressive. Part of this was due to a weak script, but it wasn’t that bad. The acting is really what saved this movie from failure. Natalie Portman did an amazing job and absolutely deserves an Oscar. Mila Kunis and Vincent Cassel (as usual) both put on very strong performances – I actually like Mila more than many of the Supporting Actress nominees. That being said, this isn’t a very good movie and most of it is due to Aronofsky’s directing. Portman’s decent into madness seems almost sloppy. There were definitely compelling scenes (e.g. the finger/toe nail and dressing room scenes), however in an effort to raise audience tension/ anxiety, Aronofsky resorts to directing and camera techniques that lead more to motion sickness than to tension.

David O. Russel, The Fighter

This is possibly the worst directed film of the year. There are really only two options when considering how this film was nominated: a.) Academy members thought they were voting for the Razzies, b.) the Academy is populated by a bunch of morons. The script for this film was atrocious, but that only excuses you so far. The fight scenes in this movie (barring the final one) are utter garbage. It’s like Russel has never seen a well done fight scene…ever. I can only assume this was nominate to piss off Christopher Nolan that much more.

Tom Hooper, The King’s Speech

The King’s Speech was one of my favorite movies of the year. An extremely entertaining movie that succeeded despite the fact that the premise is overcoming a speech impediment (not exactly gripping material). However, as much as I liked the film, its real strengths are in the script and the acting. I am thrilled it was nominated, but one of the most impressive things about the direction of this film is that Hooper managed to not ruin the movie. That may be a disservice to Hooper, though. He did a tremendous job of pulling this movie together and making it the entertaining production that it turned out to be.

David Fincher, The Social Network

What can I say about David Fincher? In the 1990’s, he made three movies I really enjoyed (Seven, The Game, and Fight Club). In the 2000’s, he made two movies I was not impressed at all with (Zodiac and The Curious Case of Benjamin Button) and one I didn’t see (Panic Room). After going back and thinking about these movies as a whole, I came to one conclusion: David Fincher is completely dependent upon the script he has been chosen to bring to life. Now, some may argue that that is the fate of any director. My rebuttal is that Fincher doesn’t seem to bring much else to the table, and, in fact, may even negatively impact any production he is associated with. After watching his movies, I would pay good money to see what a more talented director could do with Seven and Fight Club. The Social Network falls into that same category. I really liked this movie despite hating Facebook and rarely being impressed with Fincher. This is due solely to Aaron Sorkin’s script. We’ll talk more about that in a later post, but it is important to note that any success that The Social Network has is entirely the result of a fantastic script. This year, Fincher is once again saved by (and lauded for) being associated with an award winning script. Great job, David, not completely ruining this movie. (That’s about the biggest complement I can give him as the directing in this movie was uninspiring to say the least, and, in my opinion, negatively impacted the movie.)

Joel & Ethan Coen, True Grit

I appreciate the Coen brothers. I may not always LOVE their movies, but I can almost always appreciate what they were trying to accomplish. The way in which they approach and execute their movies is very impressive. True Grit is no exception. It is rare that a remake is better than the original, but the Coen brothers were able to accomplish this feat handily. Their re-envisioning of the beloved John Wayne movie is impressive – I enjoyed their version a lot better than the original. Joel and Ethan excel at giving their movies scope and depth using the locations and sets of their movies. Shots are meticulously planned and executed to get the most of both the action and the backdrop. This movie was no exception. The biggest flaw was the ending. The last 5-10 minutes of the movie were horrible. This is the only aspect of the movie that was far inferior to the original.

Who Should Win: Christopher Nolan

However, since he can’t win: Toss-up between the Coens and Hooper, but I probably give it to the Coens. Either would be fine with me, though.

Jared

The Fighter is one of the worst-directed films of the year, and I’m stunned so few people seem to be on the same page as me here. Sure, David O. Russell was working with a crappy script. But take any boxing scene from the film, other than the final fight. Take it and burn it because it is nothing less than an insult. At best, they are cut scenes from a low-grade boxing video game. They alone should have prevented Russell from getting a nomination. While it is hard to blame Russell too much for the rest of the movie’s failures, I do think he heavily contributed to the repeated references, to the point of being really obnoxious, that the family was lower class.

I’m clearly just not on the same page as the Coen brothers. If one of the major roles of a director is establishing a compelling tone, then the Coens have missed the mark on that front. With True Grit, as perhaps other of their films of late, I never really felt drawn into the story. And while a lot of that is on the script, I think some of it has to be thrown at the feet of the brothers’ directing efforts. Similarly, Aronofsky’s directing in Black Swan was fine, but not awards-worthy. He had a difficult task, at there was a lot of incomplete thoughts going on, to be sure. But I think the film would have had a significantly stronger impact if, for example, it had been directed by someone with more of a feel for horror films.

So we’re down to the big question, Hooper or Fincher? The two films are pretty different and demanded quite different styles. Sure, The King’s Speech is a lot less showy than The Social Network. But I think it is a testament to Hooper that he didn’t get in the way of the story. Starting with that cast is a big leg up. Hooper’s straightforward style runs with that advantage, creating a crisp, efficient feel that is quite effective for the film.

But I’ll join in with the chorus who say that it was Fincher‘s directing that made Sorkin’s script something truly special. I wasn’t in Fincher’s camp at first, when I mainly though of the regatta scene, and how odd it was. Instead, take the scene in the bar with Justin Timberlake. Other directors may have turned that into artsy, clubby nonsense. Instead, Fincher rather effectively creates an atmosphere that furthers the story. Really, the shifts in tone from location to location are pretty remarkable, and I think a good chunk of the credit there goes to Fincher for effortlessly weaving together the different parts of the story while maintaining a consistent overall tone.

John

I’ll leave the vitriol and verbosity to my colleagues. I quite liked all the nominees. When talking directing, there’s no better indicator of greatness than simply making a great movie, but I also look for things like vision, style, tone, and pacing.

A few of these nominees stand out from the others. The Coens create what I would call a well-crafted movie. It’s one of those films where all the technical elements come together so well: camerawork, acting, sets, costumes, music. I wish it added up to a bit more. Aronofsky produces the flashiest work of the group. Black Swan is intense and frenetic and his capable hands. I’ve loved all of his films I’ve seen so I’m glad to see him finally get some Oscar love.

My winner, fairly handily, is Fincher. Adam is too uncharitable here. The script simply establishes the dialogue and structures the story. The shot composition that follows a complex narrative and rapid fire dialogue, the film’s cool aesthetic, the varying but always spot-on tone, the breathless pacing: these have Fincher’s fingerprints all over them. There are an unlimited number of directions the exact same Sorkin script could have gone in someone else’s hands. It’s great with Fincher at the helm.

Snub: The best directed film of the year is Inception. What creativity! What vision! What style! What does Christopher Nolan have to do to get a directing Oscar nomination??

Oscar nominees are announced on the 25th. Yay! So let’s summarize what we (the royal we, at least) know. Keeping in mind, of course, that when it comes to the Academy, no one knows anything. Especially me. This time: Best Director.

VIRTUAL LOCKS

David Fincher, The Social Network

Darren Aronofsky, Black Swan

Tom Hooper, The King’s Speech

Confession time: I don’t really have any clue how to discern exactly what the director’s contributions to a film are. And I don’t think many other people know either, other than a general assumption that good movie=good directing. People are saying that David Fincher was exactly the director to make Aaron Sorkin’s script shine. Maybe that’s true, I just hope the evidence is stronger than that regatta scene. This’ll be Aronofsky‘s first Oscar nomination, an honor for which he’s probably overdue. I don’t really see what others do in the movie, but given the script’s weakness, sure, I’m happy to pass some credit to the director for elevating the film into something better. I really liked The Damned United, and the film was different enough from the book that I’ll begrudgingly pass some credit to screenwriter Peter Morgan and director Tom Hooper. His follow-up, of course, has been a bit more successful. I look forward to seeing his work in the future and I imagine that’ll only increase once I get around to watching Prime Suspect.

LIKELY IN

Christopher Nolan, Inception

Like everyone else, I do believe there’s a spot for Nolan, I’d just feel a little more comfortable if the buzz for the film was a little more palpable. Still, it’d be shocking if he gets snubbing after creating such a visionary, successful film.

I was really tempted to put the brother Coen in that last spot, but since I haven’t seen that anywhere else, I figured it is just my bias against that film in the fifth spot. The Academy loves them some Coen Bros, but they do only have the one directing nomination (for No Country for Old Men, which they won). I dunno, I won’t be surprised at all if they get the nomination. The claustrophobia of 127 Hours sure is different from the vastness of Slumdog Millionaire, huh? Maybe Boyle‘s film was released just a little too early to hit at the Oscars, or maybe it wasn’t quite as good as originally expected. I hope to see Lisa Cholodenko get a directing nomination someday, but this year is just so tough, with so many well-respected auteurs in line to get their due.

DARK HORSES

Ben Affleck, The Town

Debra Granik, Winter’s Bone

Mike Leigh, Another Year

Martin Scorsese, Shutter Island

Affleck‘s two for two in critically acclaimed directing successes and this one even made a nice chunk of a change. This kid may just have a career in the industry. After what Down to the Bone did for Vera Farmiga and this film did for Jennifer Lawrence, if I were an agent with a starlet on my hands, I’d be busting my balls to get her an audition for whatever Granik has next on her plate. As I mentioned elsewhere, it is always dangerous to count Mike Leigh out with the Academy. But maybe next time he should make sure his film’s trailer doesn’t make it seem like the most boring film ever. Shutter Island just edged out The Departed as Scorsese‘s highest-grossing film (in worldwide dollars). What, now that’s he mainstream the Academy has no use for him?

It is easy to criticize the Academy for its choices. Like any organization, they are going to make unpopular decisions. And as with any vote, the most deserving person or film isn’t guaranteed victory in the least. But part of the genesis of this project is the idea that it isn’t fair to ridicule a winner without seeing all of the other nominees. So, we watched all the nominees. Quixotic? Maybe. Fun? Almost always. Here’s what we thought of the Best Director category:

JOHN

Well, the directing nominees completely overlap the Best Picture so it seems a little hard to separate the best directed from the best picture overall. I guess I’m looking for overall concept, tone, pacing, etc… But I guess most of my in depth comments should be saved for the Best Picture discussion.

I’ve said it before but I had some big problems with Stephen Daldry’s The Reader that I couldn’t get around. Ron Howard’s Frost/Nixon has a fun tone but it helped detract from making me, well, care. I enjoyed David Fincher’s Benjamin Button and he does a good job steering a sprawling story filled with special effects. I don’t think it achieves the depth it strives for, but it’s quite an interesting story.

But now for the best. Slumdog Millionaire may well be described as director’s movie. Fairly straightforward and simple plot, shallow characters, and some less than stellar acting are turned into something magnificent in Danny Boyle’s hands. He has a great vision for the film that comes through in the photography, editing, scene composition, and music. I liked Milk better than Slumdog and therefore feel the need to choose Gus Van Sant, but Boyle’s vision made it tough.

Van Sant is my choice. He helms a film that says a lot in just the right tone without preaching and with this subject matter that’s a tough job. The opening montage is worth the price of admission by itself and sets the stage perfectly. The film has an incredible sense of time and place so that it’s part an exploration of the gay experience in 1970s as well as a look at Harvey Milk’s life. Maybe it’s not hard to do so when working with the likes of Sean Penn, Josh Brolin, and James Franco but he elicits great work from his actors. And the interesting creative choice to mix in archival footage works perfectly when I never expected it to.

Snubs: I’m beating the same drums here again and again. Christopher Nolan for The Dark Knight and Darren Aronofsky for The Wrestler. Both brilliant with interesting and engaging styles.

BRIAN

Director: Danny Boyle. Whatever.

JARED

I really don’t have any confidence in my ability to determine what effect a director had on a movie, so it seems silly to say anything about the nominees or snubs. Instead, here’s some other stuff directed by the nominees:

ADAM

Danny Boyle stole the front-runner position from David Fincher when he began winning all of the non-Oscar awards. Between the two of them, Boyle’s film and directing is the clear winner.

I Want to Win: Christopher Nolan

As with Best Picture, I realize that Christopher Nolan was not nominated, but in my opinion there was no movie better directed this year. It is a travesty that he was excluded and my opinion of the Academy has reached an all time low (no small feat).

Dark Horse: Gus Van Sant

Van Sant is the sleeper in this category and could very well steal Boyle’s limelight. However, it is a long shot at best. Should he receive the award, at least it will be well deserved. He missed out with Good Will Hunting, but Milk is a film he can be proud of.

Random Notes:

It is distressing to me that Ron Howard was able to beat out Christopher Nolan for this nomination. Frost/Nixon was a decent movie, but it was no where near the caliber of The Dark Knight. Nolan’s handling of the film shows that his is one of the preeminent directors today.

Well the nominations have been announced and those looking for surprises are happy this morning. The Grouches did get at least one nasty surprise.

Dark Knight Debacle

I was expecting the Academy to screw up and skip over Dark Knight for Best Picture. I thought Christopher Nolan had a better shot at Director. But the huge surprise was no Adapted Screenplay nomination. Four of the five Best Picture nominees were nominated in that category with the fifth slot going to Doubt. That’s a pretty shoddy film to be passed over for.

On the other hand, it got nominated in every technical category it was eligible for besides Score and Costume for a total of 8 nominations (including Supporting Actor Heath Ledger).

The Winslet Conundrum

Kate Winslet was aiming for Lead Actress in Revolutionary Road and Supporting in The Reader despite both roles probably being lead. She won these categories at the Globes. But the Academy puts her in the Lead role for The Reader and nothing for Road.

So we can play the what if game. Rules in the acting categories state an actor cannot: a) be nominated more than once in the same category, nor b) be nominated twice for the same role. If those rules were removed I would not be surprised if Winslet qualified for Lead for both roles AND Supporting for The Reader. When something like this happens the Academy goes with the role that got the most support and that apparently was Lead for The Reader.

Hooray for Little Movies!

My happiest moment came with the announcement of Richard Jenkins for Actor in The Visitor. Melissa Leo also managed an Actress nod for Frozen River when it seemed like her chances were fading. The biggest out of nowhere surprise may be that film’s Original Screenplay nomination.

Leo’s inclusion may have meant Sally Hawkins’s exclusion for Happy-Go-Lucky but that film still managed an Original Screenplay nod. And that interesting category ALSO includes the wonderful In Bruges. Plus WALL-E, which no one would call a little movie. Those interesting nominations pushed out films like Vicky Cristina Barcelona and Burn After Reading, however.

Long shots Darren Aronofsky and the film itself for Best Picture didn’t pan out, but at least Marisa Tomei was able to join co-star Mickey Rourke as an acting nominee for The Wrestler. That’s great, though the film really should have gotten a screenplay nod. And Bruce Springsteen’s exclusion for Song is downright confounding.

Other Surprises

I’m not complaining, but it was widely expected Dev Patel to get a Supporting Actor nomination for Slumdog Millionaire and he did not. Instead Michael Shannon from Revolutionary Road snuck in from way back in the pack to give the film its only major nomination.

Another puzzling exclusion was Waltz with Bashir in the Animated Feature category. The animated, foreign-language documentary was nominated for Foreign Language Film and ineligible for Documentary Feature. Kung Fu Panda and Bolt join WALL-E as Animated Feature nominees. After the near unanimous love for the film its absence is quite surprising.